of Christ's Messianic nature. Four points, however,
deserve to be noted. The language used is always Latin. The subject is
always taken from the Bible. Close correspondence is maintained with the
actual words of the _Vulgate_ (compare the Magdalene dialogue with John
xx. 13-17). The Mystery is performed in a church. Each point, it will be
observed, imposes a serious limitation.

There was one play, however, which broke loose from most of these
limitations, a play of _St. Nicholas_, written by one Hilarius early in
the twelfth century. The same author composed a Mystery of _Lazarus_,
and an elaborate representation of _Daniel_, which must have made large
demands on the Church's supply of 'stage properties'. But his _St.
Nicholas_ is the only one that interests us here. To begin with, the
title informs us that the subject is not drawn from the Bible. The
words, therefore, are at the discretion of the author. Further, though
the medium is mostly Latin, the native language of the spectators has
been slipped in, to render a few recurrent phrases or refrains. The
story is quite simple, and humorous, and is as follows:

The image of St. Nicholas stands in a Christian church. Into the church
comes a pagan barbarian; he is about to go on a long journey, and
desires to leave his treasure in a safe place. Having heard of the
reputation of St. Nicholas as the patron of property, he lays his riches
at the foot of the statue, and in four Latin verses of song commits them
to the saint's safe-keeping. No sooner is he gone, however, than thieves
steal in silently and remove the booty. Presently the barbarian returns,
discovers his loss, charges the image with faithlessness, and,
snatching up a whip, threatens it with a thrashing if the treasure is
not brought back. He withdraws, presumably, after this, to give St.
Nicholas an opportunity to amend matters. Whereupon one representing the
real celestial St. Nicholas suddenly appears, perhaps from behind a
curtain at the rear of the image, and seeks out the thieves. He
threatens them with exposure and torment unless they restore their
plunder; they give in; and St. Nicholas goes back to his concealment.
When the barbarian returns, his delight is naturally very great
at perceiving so complete an atonement for the saint's initial
oversight. Indeed his appreciation is so genuine that it only needs
a few words from the reappearing Saint to persuade him to accept
Christianity.--Monologue and d